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Breaking News in Advertising, Media and Technology

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    Anheuser-Busch InBev introduces Oculto, a new high-alcohol lager, with a roomful of men and women wearing masks inside a dark club in this spot from Mother New York.

    The mood is mysterious and reminiscent of the party scene in Eyes Wide Shut. Not much happens, but Oculto's ghoulish clear bottle appears prominently, and with good reason: It's a cool piece of marketing in and of itself. The eye sockets of the skull light up when the beer is chilled. (Another shop, Antista Fairclough, worked on the packaging.)



    Beyond this initial online ad, which was directed by Prettybird's Melina Matsoukas and breaks Friday, the campaign includes events, social media marketing, outdoor ads and print ads, with a particular focus on the Miami market. The brand, which rolled out last month (on Friday the 13th, no less) is targeting 21- to 34-year-olds who are ambitious, free-sprited and "love the idea of a mashup," said Harris Rabin, vp of global marketing on new brands at A-B InBev.

    Oculto represents a new category for A-B—a 6 percent alcohol beer that's infused with agave by being aged in barrels that are used to make tequila. The brewer's marketing leaders are bullish about its prospects, though they declined to share sales expectations.

    "This is obviously a big priority for the company. The level of investment is consistent with other big bets that ABI has made," said John Steed, a marketing director at A-B InBev. Added Rabin: "For us, it's all about unlocking the potential of nights out—those really special nights out with friends."


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    They may have played beer pong with red Solo cups in 1999, but moms have upgraded to crack-resistant party cups in Hefty's sharp and funny new campaign by Havas Worldwide Chicago.

    Three new ads all open on a wholesome PTA-stereotype mother in a docile environment (folding laundry, reading a book, unpacking groceries). But then they open their mouths, and their monologues aren't quite what you'd expect.



    The moms detail party scenes in what can only be described as 2015-speak ("Bye, Felicia," "bae" and the hideous "on fleek" make the cut) as they reference current and younger-targeted social networks like Snapchat and Tinder. Mom may wear tasteful khaki slacks, but she also likes to drop it down low and bring it up slow.

    The writing is solid—some of the phrasing is truly cringe-worthy. (It's OK to pronounce though with a "th" and not a "d," unless you're talking about Bambi's mom, may she rest in peace.) And the actors do a bang-up job with the "Talbot in the streets, Forever 21 in the sheets" personas.



    Hefty says the humor is rooted in a truth that's rarely addressed in typical CPG marketing-to-mom efforts. "Traditionally mothers are cast in one light: wholesome caregivers for their children. But the reality is moms are much more complex and multifaceted," says Lynnette Hinch, director of marketing for Hefty Cups.

    "Their social networks are extremely important to them, and time spent with friends is often a welcome escape from the drudgery of daily life," adds Hinch. "We decided to activate that sense of fun, juxtaposing their routine tasks with recaps of epic ragers from the night before. In essence, we're giving moms permission to party harder with the ideal party cup from Hefty."



    The spots roll out today on Hefty's Facebook page. It's a funny and unexpected way to market party cups, and I think Hefty's ad game is straight fire, for real.

    CREDITS
    Client: Hefty
    Campaign: "Party Hard Moms"
    Agency: Havas Worldwide Chicago
    Chief Creative Officer: Jason Peterson
    Group Creative Director: Ecole Weinstein
    Creative Director: Shelby Georgis
    Copywriters: Matt Bush, Kristi Lira
    Art Director: Katie Rogers
    Group Account Director: Lisa Evia
    Account Executive: Christina Banuelos

    Production Company: One Thousand Percent
    Directors: Antonio Santos, Phil Pinto
    Producer: Kris Rey-Talley
    Music: Trentino

    Postproduction: Studio 6
    Executive Producer: Lauren Shawe
    Producers: Jordan Sider, Kara Weinert
    Editors: Steven Mach, Kelsey Moher
    Senior Audio Engineer: Mark Ruff, CRC
    Color Grade: Peter Berthold, Studio 6
    Computer Graphics: Jon Gallo, Feral


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    The hills are alive with the sound of Unicef Sweden singing about cholera.

    A jolly grim reaper does a Broadway number on waterborne diseases in Forsman & Bodenfors' insane new ad from the children's charity. Titled "The Sound of Death," it parodies The Sound of Music—namely the song "My Favorite Things," performed by children in the musical. But instead of whiskers on kittens and brown paper packages tied up with string, it turns out that Death loves dysentery and leptospirosis.



    The clip is firmly in the Mel Brooks tradition of dark comedy (Think "The Spanish Inquisition" from History of the World, Part I, or maybe more appropriate, the Nazi-themed "Springtime for Hitler" from The Producers). And any macabre, musical PSA these days is likely to evoke, however slightly, "Dumb Ways to Die."

    Frankly, the lyrics could be better. And the extra wry approach makes the concept tough to swallow, but that's kind of its point. It doesn't quite trivialize the horrors it's trying to address, it just pretends to do so, as a way to guilt viewers—essentially saying, "Enjoy this silly song … about the thousands of kids dying every day." Whether that's an effective call to action, who knows? It's certainly memorable.

    And at least it keeps up musical theater's raison d'etre of having people burst into song about everything, all the time, even when it's totally inappropriate.


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    A number of famous novelists spent time in ad jobs—among them, F. Scott Fitzgerald (who worked at Barron Collier in New York, where he wrote the line, "We keep you clean in Muscatine"), Joseph Heller (once a copywriter for Merrill Anderson in New York) and Salman Rushdie (who logged seven years at Ogilvy London, after failing an interview test at J. Walter Thompson that supposedly included making up a jingle about seatbelts).

    Those three authors are the subject of these amusing ads—showing client feedback on their famous novels—to promote a British fiction contest for advertising writers. "Write for yourself. Not for a client," say the ads.

    Entries are closed for the 2015 Winston Fletcher Fiction Prize, unfortunately, but it is an annual thing. (You have to work in advertising, marketing or a related business to enter.) Check out the full ads below. Click the images to enlarge.


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    Live from New York … it's Jason Sudeikis.

    The former Saturday Night Live cast member appears in "The Tourists," a 45-second video from BBDO promoting AT&T's sponsorship of the Tribeca Film Festival, which runs through April 26 (and features three movies starring Sudeikis).

    In the clip, the actor encounters two out-of-towners who start "directing" him, Hollywood style, as one of them captures the moment with a smartphone. The tagline is: "There's a film lover in all of us."



    Ah yes, mobile technology turns us all into would-be auteurs, roving the streets in search of a scene that just might go viral. Celebs, of course, make great subjects, and they're usually glad to do a few takes when fans whip out recording devices.

    Oddly, though, the spot tacitly acknowledges that much of today's compelling content isn't made by professional filmmakers or entered in festivals. Increasingly, it's being created by average folks when opportunities arise—and distributed online, with a few clicks as the price of admission.

    Sudeikis "prepped" for his role a few years back when he and his fiancee, Olivia Wilde, made news—and I use the term loosely and with extreme irony—by helping some real tourists in NYC find their way.

    Now we know he can take directions as well as give them.

    CREDITS
    Client: AT&T
    Agency: BBDO New York
    Chief Creative Officers: David Lubars (worldwide), Greg Hahn (N.Y.)
    Executive Creative Director: Matt MacDonald
    Senior Creative Directors: John LaMacchia, Simon Foster
    Associate Creative Director: Geoff Proud
    Senior Art Director: Will Holmes
    Group Executive Producer: Julie Collins
    Executive Producer: Alex Gianni
    Producer: Gillian Burkley
    Managing Director: Mark Cadman
    Senior Director: Brian Nienhaus
    Account Director: Gail Curtis
    Account Executive: Sigourney Hudson-Clemons
    Production Company: O-Positive
    Director: Brian Billow
    Director of Photography: Joe Zizzo
    Executive Producers: Ralph Laucella, Marc Grill
    Producer: J.D. Davison
    Editing House: Mackenzie Cutler
    Producer: Sasha Hirshfeld
    Editor: Ryan Steele
    Assistant Editor: Jean Taylor
    Color Correction: Company 3
    Colorist: Tim Masick
    Visual Effects: Schmigital
    Flame Artist: Jim Hayhow
    Flame Assistant: Joseph Miller


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    If your dream wedding includes getting married via webcam, you should sign up for Ikea's newest service.

    The Swedish furniture chain has launched "Wedding Online," a (somewhat) tongue-in-cheek site that lets users pick a theme and setting—beach, boat, circus, forest, rooftop—and then hold a remote virtual ceremony by live-streaming their heads (and those of their guests) on to pictures of easily assembled wedding bodies.

    "It's love at it's simplest," says the launch ad. Which is true, in the same way that before the Internet, a drunken Vegas wedding with someone you just met was love at it's simplest.



    Don't worry though, romance isn't dead: The spot suggests you actually sit in the same room as your fiancé and the officiator—just put your laptops between you, and spare your family and friends the trouble of an actual destination.

    It's not completely a gag. You can get married this way—for Swedish citizens, the site even supplies the proper paperwork. But mostly it's a way to show off the brand's products—you can click through items like bowls and light fixtures featured in the different settings to learn more and buy them.

    If you do decide to tie the knot this way, instead of serving people real mediocre food, you can always just send them Ikea's Swedish meatball emoticons.


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    For Groupon, it's the Bunker that keeps on bunking (but not bonking).

    The Banana Bunker, that famously suggestive-looking banana holder, is back "by popular demand" on the Groupon site this week. And given the success of its hilarious Facebook thread about the product last time (click here for a recap, if you were living in a real bunker at the time), the company had to do something special to celebrate.

    So, it got some of its employees to read their favorite comments from the earlier thread.



    Check out the YouTube video above. The video is also posted to Facebook, of course, which means there's yet another comment thread. But Groupon is apparently not going to reply to everyone this time—just a few people (see below).

    That's understandable—it's bunker-busting work.


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    Unboxing videos are a pretty big deal these days, largely because they're seen as more "honest" than commercial brand videos, with real people unpacking their shiny new gadgets from their packaging and taking them for a spin.

    But for the Galaxy S6 and Galaxy S6 edge, Samsung and ad agency McKinney did some pretty entertaining professional versions of the typically amateurish unboxing film.

    The surprises are part of the fun, so we won't spoil the three videos below. Check them out:



    It's a great way of messing with the form. And while the stunts and gags are certainly the high points, it's impressive how the videos actually get the product features across as well. Check out some behind-the-scenes photos from the campaign below.



    CREDITS
    Client: Samsung
    Agency: McKinney


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    Hand out fliers about the dangers of osteoporosis pretty much anywhere and see what happens. Crumple. Toss. No one reads all those statistics. But chase those same folks with a remote-controlled wheelchair? Now you have yourself a public service campaign.

    Never mind that it could spike some heart rates—why is that contraption following me?—it's for the greater good.

    The prank-style awareness campaign, from FCB Health for Crouse Hospital in Syracuse, N.Y., shares some fairly alarming data: About 54 million Americans have osteoporosis or low bone density, and one in two women over age 50 will break a bone due to osteoporosis. Recovery can be brutal, or nonexistent—hence the wheelchair as the central prop.



    With slightly more ominous background music, "Beware the Chair" could double as an ad for a horror flick. (Put a creepy baby in it, and you have a Thinkmodo production.) Initial reaction seems to be pretty strong, judging from the video. Or maybe those people were already trembling?

    The work will get print, outdoor and heavy social media distribution via Crouse Hospital's Twitter, Instagram, Facebook and YouTube. FCB is also offering it free to hospitals and healthcare groups across the country.


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    Dinosaurs, fingerless gloves, punks, skateboards, hacking and traveling back in time to try to kill Hitler. It's everything you ever loved about the '80s in one film—now including David Hasslehoff.

    Kung Fury is a film that was funded on Kickstarter and is due to premiere May 28 on YouTube. The epic trailer for the film is what got the project funded, so they haven't released a new one. Instead, they've just put out a music video with David Hasselhoff who sings the lead track, "True Survivor."

    And it is going to make this film #TakeHoff.



    Hasslehoff is resplendent in a mullet, fingerless gloves, Converse high-tops and a custom airbrushed Kung Fury letter jacket as he saunters, shoots, splits and sings his way through the epic scenes of the film.

    The synth is strong with this one, and the time is right, as millennials have come to that point in their lives when they have money and are willing to part with it for anything that reminds them of their childhoods.

    Even if Harrison Ford and David Hasslehoff happen to look really old now.


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    Real audio of a 5-year-old girl calling 999 (Britain's version of 911)—after her mother has had a seizure—anchors this compelling new PSA from Grey London aimed at getting more parents to teach their kids how to call the police in an emergency.

    Elleemae Addison was home with her mother Loretta and her baby sister when Loretta had an epileptic fit in 2012. Luckily, Elleemae had been taught how to dial 999. Check out the how the call went here:



    The PSA, supported by British Red Cross, is for parenting website Mumsnet. In a Mumsnet survey, 37 percent of respondents said they had not taught their child to dial 999. Nearly half of those said it was because they didn't think their child was mature enough.

    "Nobody wants to think about the circumstances in which their child might need to call 999, but as Elleemae's story shows, it can literally be a lifesaver," says Mumsnet CEO Justine Roberts. "We hope this powerful film will encourage parents to take a deep breath and have a chat with their children."

    For visuals, the ad uses home movie footage of Elleemae and her family.

    "Ads are glossy and distant. How we record our lives is awkward, beautiful and constantly changing," says Grey London chairman and chief creative officer Nils Leonard. "The black holes, mixed media, low resolution, distortion and awkward crops are the canvas of our real lives, and the craft leveraged here was all in service of amplifying this incredible phone call with as much emotion as possible.​"


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    "By the time I was in kindergarten, I had been designated as class artist. Some of the older kids discovered that I could draw girls doing unspeakable things, and I could get a nickel apiece for those."

    Thus began the illustrious career of design legend Milton Glaser, 85, who discusses his life and work in this insightful and charming video made by Poppy de Villeneuve for The New York Times.



    Among the many highlights packed into three minutes:

    • Glaser recalls creating the iconic "I [Heart] NY" logo on an envelope while riding in a cab: "It was an expression that people felt, and it was sort of inside out rather than outside in."
    • He recounts the early days of New York magazine: "We learned on the job. It was so primitive—no computers of any kind."
    • And he reveals the simple yet awesome power of design: "You invent what is real when you look at something and draw it."

    It's an inspiring piece that transcends its subject matter, reminding viewers that magic can happen in business and life when you follow your heart.

    Separately, Glaser has also weighed in on Hillary Clinton's much-debated presidential campaign logo. Check out his verdict here.

    Via Design Taxi.


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    Three strange storefronts have popped up in Omaha recently that you wouldn't want to enter—but they're part of a PSA campaign telling residents that, unfortunately, sexually transmitted diseases are open for business in the city.

    Omaha has had a shockingly high STD rate for over a decade, and it's only getting worse. Cases of gonorrhea and syphilis are up by 15 and 23 percent, respectively, and chlamydia reached an all-time high in 2014 with 3,390 reported cases.

    The storefront campaign by Serve Marketing, timed to National STD Awareness Month, aims to get people talking about the crisis—and give them information to get checked. The campaign includes TV, outdoor, radio, social and digital banners for the fake businesses.

    "This has been a closeted issue in Omaha for decades," says Serve creative director Gary Mueller. "If we want to ultimately lower the STD rate and change people's behaviors, we need to be bolder and more aggressive about getting people to talk about the issue. We think this will get people talking."

    The storefronts:

    The outdoor ads:



    The commercials:



    CREDITS
    Agency: Serve Marketing
    Creative Director: Gary Mueller
    Art Directors: Matt Herrmann, Carsyn Taylor
    Copywriter: Nick Pipitone
    Account Executive: Heidi Sterricker
    Social Media: Alex Boeder, Lauren Wagner
    Producer: Jessica Farrell
    Director of Photography: Quinn Hester
    Editors: Bobby Ciraldo, Andrew Swant, Special Entertainment
    Assistant Editor: Jon Phillips
    Audio: Peter Batchhelder
    Production Manager: Rob Birdsall


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    The year of the celebrity anti-pitchman continues, with Ewan McGregor poking fun at the absurdities of the advertising process in AMV BBDO's amusing campaign for British TV and Internet provider BT.

    The Scottish actor, 44, stars in a couple of ads that take place at the BT commercial shoot. He's surrounded by morons—from the client and the director to the agency creatives. In the first spot, he objects to their plans for a giant blockbuster production—and in the second, their plans for just the opposite.



    The campaign also features fake behind-the-scenes videos extending the meta farce even further. (Soccer players Robin Van Persie and Alex Oxlade-Chamberlain are also featured in the campaign.)

    There's a trend this year toward ads that feature celebrities being clearly reluctant to endorse the brand at hand (e.g., Neil Patrick Harris for Heineken Light) to downright dismissive of the whole enterprise (Ricky Gervais for Optus/Netflix).

    More videos from the campaign below.



    CREDITS
    Client: BT
    Agency: AMV BBDO, London
    Creatives: Richard Peretti, Gary Lathwell
    Director: Randy Krallman, Smuggler


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    If famous ad agencies were ice cream brands, what flavors would they be?

    Aditya Hariharan and Joshua Namdar, a pair of students at the Miami Ad School in New York, took a swing at visualizing the answer with Agency Scoops, a Tumblr that features mockups of ice cream names and package designs for well-known agencies, themed around their more famous campaigns.

    That means scary but tempting mashups like "Cookies 'N Bacon" for 360i (for its well-known clients Oreo and Oscar Meyer). Other fun visuals include one of McCann's "Dumb Ways to Die" blobs, who's very plausibly eaten himself into an early grave by way of chocolate ice cream (the only flavor that really matters, in the end).



    It's a nice, simple job-hunting gimmick from Hariharan and Namdar, who are looking for summer internships. The front of the cartons also feature taglines that trend toward ingratiating, with some of them perhaps less flattering than intended. (DDB Lemon Sorbet, "a slow-churned classic agency with a hint of forward thinking," might take exception to the idea that it's only slightly innovative, like a 55-year-old VW Beetle with a new paint job, squeaking toward the future.)

    Where real ice-cream might list ingredients, these cartons feature past creative highlights for each agency, as well as recent awards. There's even a timely nod to the Mad Men craze, with a 10th design featuring fictional agency Sterling Cooper & Partners.



    Ogilvy & Mather, represented as Coca-Cola, is maybe the only one that seems a bit off the mark, in spirit. Yes, the smash hit personalized bottle campaign originally came out of Ogilvy's Sydney offices. And the "2nd Lives" campaign from China was a head-turner. But everyone and their mother has worked for Coke, somewhere in the world, and the agency's brand might be more strongly associated IBM or Dove.

    Then again, nobody wants to eat mint chocolate microchip or soap flavored ice cream.

    See more at the Tumblr site.


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    Men, if you saw a door marked "Big Dick" and a door marked "Average Dick," which would you walk through?

    Two weeks ago, Dove released a new video in its long-running Real Beauty campaign where they put the words "Average" and "Beautiful" over doors and figured out which women lacked self-confidence and which were full of themselves. Just kidding, they tried to get women to see that they could choose to see themselves as beautiful.

    The divisive video was greeted with booth cheers and jeers, caused a kerfuffle over at BuzzFeed, and like past Dove videos, was ripe for parody. And indeed, Funny or Die produced the little video below that suggests once again that men, at least compared to women, don't have a lot of self-confidence problems.



    Of course, in reality, men also suffer from self-esteem issues, but the parody brings up some excellent points that many detractors have leveled at the original video. Namely, what's so bad about being average? And where in our culture do we draw the line between healthy self-esteem and being embarrassingly full of yourself?

    The guys in this video run the gamut from full-of-yourself you're delusional ("It's a bit like Big Ben") to depressingly desperate ("Have sex with me, please!"). When our society values both confidence and modesty, it's hard for women or men to win the physical beauty game. The paradox is aptly put in the One Direction lyric: "You don't know you're beautiful, but that's what makes you beautiful." In other words, One Direction doesn't think any of the ladies who walked through the beautiful door are actually beautiful.

    Which brings about larger questions: Who's the arbiter of beauty? Who gets to decide who's beautiful or who's dick is big? Are we talking length or width, inner beauty or outer? And of course, why does society prize physical beauty in women above so many other features—and big dicks for men above, say, the ability to actually please a woman?

    But you don't have to think about all that to enjoy the parody. All you need to know is: Ha ha, dicks!


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    South Dakota sets the bar low with a new ad campaign that basically says, "Hey, at least we're not Mars."

    Aimed at both tourists and potential long-term residents, the campaign—developed by Sioux Falls ad agency Lawrence & Schiller—reminds us that Mars is a barren wasteland with no water or oxygen, while South Dakota is, well, not that. Also, there are jobs. That is quite literally the tone they are using to sell people on life in South Dakota.



    However cavalier their attitude may be, the campaign is based on research into the general perception of South Dakota, which itself can be summarized as a "barren wasteland." One response even compared life there to "living in a mental asylum." Yet the state has an unemployment percentage well below the national average and is seeing growth in a couple of different industries—plus it has none of North Dakota's oil-shale boomtowns driving up crime and other unpleasantness.

    Seeing that the more serious tone of past campaigns hadn't really changed anyone's perceptions (including the one touting the state's lack of income tax), Lawrence & Schiller decided to gamble on a looser tone that plays on a currently trending news item.

    And why not? Even if it doesn't work, it's still less dumb than volunteering for a doomed Mars flight that sounds like a scam and probably won't even happen.

    Read more about the campaign here.


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    Cooking with Lurpak is a full body-and-soul experience.

    A new ad from Wieden + Kennedy London continues the butter brand's tradition of quick-cut, hi-res food porn. In the voiceover, Rutger Hauer raps about cutting loose, while a sizzling jazz soundtrack crescendoes and a series of home cooks work themselves up into spiritual frenzy, dancing while they fly.



    Titled "Freestyle," it is, like the agency's past work for Lurpak, gorgeously shot (this time by MJZ director Juan Cabral—with stunning colors, produce that looks so good it's unreal, and a surprising amount of action, including a healthy dash of psychedelia.

    It's also trying pretty hard—some might say too hard—to be exciting. But the build and pacing are perfectly arced, and anyone who loves cooking as a form of self-expression seems likely to particularly appreciate it.

    The less ambitious can just slather some butter on their toast.

    Print work and credits below.



    CREDITS
    Client: Lurpak
    Project: "Freestyle"

    Agency: Wieden + Kennedy London
    Creative Directors: Sam Heath, Kim Papworth
    Creatives: Gustavo Kopit, Barnaby Blackburn
    Designer: Bruce Usher
    Executive Creative Directors: Tony Davidson, Iain Tait
    Agency Executive Producer: Danielle Stewart
    Group Account Director: Rachel Parker
    Account Directors: Hannah Gourevitch, Katja Giannella
    Account Executive: Stephanie Brooks
    Head of Planning: Beth Bentley
    Planners: Jennifer Lewis, Theo Izzard-Brown
    TV Producers: Gemma Knight, Sahar Bluck
    Creative Producer: Rebecca Herbert

    TV Production
    Production Company: MJZ
    Director: Juan Cabral
    Production Company Producer: Stephen Johnson
    Director of Photography: Anthony Dodd Mantle
    Editing Company: Work Post
    Editor: Neil Smith
    Executive Postproduction Producer: Julian Marshall
    Visual Effects Company: MPC
    Visual Effects Producer: Anandi Peiris
    Music, Sound Company: Soundtree
    Composers: Peter Raeburn, Ben Castle, Luis Almau
    Sound Designer: Parv Thind
    Producer (Soundtree): Jay James
    Mix Company: Wave Studios
    Mixer: Parv Thind
    Producer (Wave Studios): Rebecca Boswell

    Print Production
    Creatives: Sam Heath, Gustavo Kopit, Barnaby Blackburn
    Designer: Bruce Usher
    Creative Producer: Rebecca Herbert
    Creative Researcher: Laura Barker
    Photographer: Gustav Almestål
    Agent: Lund Lund
    Food Stylist: Katie Giovanni

    Director of Relations: Marta Bobic


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    It's a red box, but in some ways it's more like a red carpet.

    Ogilvy Cape Town has been giving a remarkable welcome box to employees over the past year. And now, it's been shortlisted in the design competition for this year's One Show. Deservedly so, as it's probably the best agency employee welcome package we've seen.

    The so-called "Induction Box"—made by Ogilvy's RedWorks production arm (which was recently merged with its other production agency Hogarth Worldwide)—is based around David Ogilvy's short book The Eternal Pursuit of Unhappiness and his famous eight habits of highly creative communities.

    The box brings the concepts to life in a tangible way, making employees much more likely to read and absorb the philosophy underpinning the agency. Check out the contents of the box in the images below.

    Click the images to enlarge.



    We spoke to Ogilvy Cape Town about how the box came about, and how it's been received.

    What was the motivation for creating something like this?
    The idea behind this is to give someone a piece of Ogilvy & Mather, because at the end of the day, the box represents who we are and what we stand for. It is easy to pull someone aside and say, "Welcome to the agency." But with the Induction Box, we want to make people feel like they belong, like they have found a place here. Working at Ogilvy is so much more than just another job. We wanted to create something that reflects this.

    How did David Ogilvy's ideas inform the design of the boxes?
    When you are hired by Ogilvy, it is because someone saw something great in you and that you would be a good fit here. There is a definite "Ogilvy Way" based on The Eternal Pursuit of Unhappiness (or Divine Discontent) and David Ogilvy's 8 Creative Habits—Courage, Idealism, Curiosity, Playfulness, Candor, Intuition, Free-Spiritedness and Persistence. Getting new staff to understand and embrace all of this in a fun and engaging way was our main focus. The Induction Box solidifies the importance of what we stand for.

    What was RedWorks' role in designing the boxes?
    Inspired by The Eternal Pursuit of Unhappiness, Redworks decided to unpack the eight habits by making them tangible. Their solution was a layered box containing interesting, fun, quirky elements representing the eight habits, accompanied by phrases elaborating on it. It not only reflects Ogilvy's rich heritage, but also provides all the necessary information about the working environment in a visually stimulating way.

    How do new hires generally respond?
    The response has been well beyond what we could have imagined. It ties everything together beautifully. People light up when they receive them. We often get a nudge from existing employees asking if they can get one, too.

    Have other Ogilvy offices shown interest in using the boxes, too?
    Not only has the Ogilvy Induction Box been introduced to staff at Ogilvy & Mather Johannesburg and Durban, but O&M London and Australia have been working on their own adaptations to give to new employees.


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    People have been looking for the Loch Ness Monster for centuries, but now Google has brought some high-tech dragon-hunting software to the search.

    The company, with help from London agency adam&eveDDB, has brought underwater Street View to the famous Scottish loch, having introduced it last year to the Great Barrier Reef. You can now jump right into Loch Ness in Google Maps, and peer down into the murky depths.

    You won't see quite as much as you do at Great Barrier Reef. But it's a charming conceit, and one that Google is running with—even going so far as putting a Loch Ness doodle on the Google U.K. homepage. Meanwhile, adam&eve made the video below to go with the project.



    "A huge part of Google's mission is to help make mysterious places more accessible to everyone, and there's no more emotive, exciting example of that than revealing what's beneath the waters of Loch Ness," says Alex Hesz, director of digital at adam&eveDDB.

    "This is a place of enduring mystery and profound beauty, and we were lucky enough to accompany Google's underwater capture team on a truly extraordinary task. We think that the campaign really captures the scale of that undertaking, the beauty of the place, and the reasons why Loch Ness has retained such a sense of mystery and intrigue for so many, for so long. The fact that everyone can now explore it for themselves is hugely exciting," Hesz says.

    CREDITS
    Client: Google
    Project: Explore Loch Ness with Google Maps
    Brief: Google gives access to explore hidden places
    Creative agency: adam&eveDDB, Google Creative Lab
    Chief Creative Officer: Ben Priest
    Executive Creative Directors: Ben Tollett, Richard Brim
    Creative Directors: Paul Knott, Tim Vance and Google Creative Lab
    Planner: Will Grundy
    Account Management: Alex Hesz, Sam Brown
    TV Producers: Ben Sharpe, Jordan Cross
    Production Company: Sonny
    Director: Nick Rutter
    Editor: Gary Forrester
    Editing House: Marshall Street Editors
    Soundtrack, Composer:  "The Search," Brendan Woithe
    Postproduction: The Mill
    Audio Postproduction: Clang @ Marshall Street


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